The female hero has been marginalized through history, to the extent that theorists, from Plato and Aristotle to those of the nineteenth and twentieth centuries, state that a female hero is impossible. This thesis argues that she is not impossible. Concentrating on the work of Carl Jung and Joseph Campbell, a heroic standard is proposed against which to measure both male and female heroes. This heroic standard suggests that a hero must be human, must act, must champion a heroic ethic and must undertake a quest. Should a person, male or female, comply with these criteria, that person can be considered a hero. This thesis refutes the patriarchal argument against female heroism, proposing that the argument is faulty because it has at its base a constricting male-constructed myth of femininity. This myth suggests that women are naturally docile and passive, not given to aggression and heroism, but rather to motherhood and adaptation to adverse circumstances, it does not reflect the reality of women’s natural abilities or capacity for action. Indeed, with the rise of contemporary feminist discourse the patriarchal myth of femininity is being demystified and, without the myth of femininity to constrain her, the female hero is now re-emerging in certain areas of cultural expression. The examples of female heroes discussed in this study are taken from speculative fiction, encompassing the genres of both science fiction and fantasy. Speculative fiction, which has a propensity for challenging the status quo and questioning common societal assumptions, provides the perfect platform for women writers to confront feminist issues and launch the female hero. The female hero challenges the patriarchal claim that all heroes must be masculine, she defies patriarchal power structures and she demands a re-evaluation of women’s capabilities. The female hero gives women an example of heroic activity to emulate, in place of the ‘angel in the house’ that women have had to bow to for so long. The works discussed in this thesis cover a range of authors, from those of outspoken contemporary feminist, Joanna Russ, to early speculative works like those of C.L. Moore. Lesser-known authors such as Vonda McIntyre and Tanith Lee are also discussed. / Dissertation (MA (English))--University of Pretoria, 2005. / Modern European Languages / unrestricted

Prior to the 1960s and 1970s most studies of time undertaken in the West treated it as an objective phenomenon, devoid of ideological inscriptions. Second Wave feminists challenged this view, arguing that time is not neutral but one of the mechanisms used by patriarchal cultures to subjugate women. The argument was that temporal modes, like everything else in patriarchal reality, had been gendered. Linear time was masculine because it was associated with the male-dominated public domain in which science, commerce and production took place. The natural world, mysticism, the private domain, domesticity and women were relegated to a cyclical temporality that was gendered feminine. In her paper “Women’s Time” Julia Kristeva suggests that three generations of feminism can be identified according to the attitude each takes to time. I use her hypothesis as a framework in order to examine the positions regarding time taken up by various feminist groups during the Second Wave. I identify liberal and socialist feminisms with Kristeva’s first generation because they criticised the fact that women had been left out of linear time and the public domain and demanded that women be reinserted into linear time. I argue that Kristeva’s second generation is represented by cultural feminists of the Second Wave who recognised an alternative women’s time and suggested that women celebrate their connection with it, defying the authority of patrilinear time to dismiss “women’s experiences”. I then propose that the perspective of Kristeva’s third generation may be identified in the work of six authors of feminist speculative fiction who were writing during the Second Wave; this perspective entails a synthesis of the two previous opposing viewpoints. This can be identified in these novels because the female protagonists are first empowered through their access to an alternative (“feminine”) temporal space that subverts the authority of patriarchal culture embedded in linear time and then they move back into patrilinear time, claiming active roles and challenging patriarchal ideology. In this thesis I thus focus on the feminist examination of time during the Second Wave and consider how it was reflected in selected works of feminist speculative fiction written at the time. The authors discussed are Octavia Butler, Marge Piercy, Joanna Russ, Ursula Le Guin, Tanith Lee and Sheri Tepper. / Thesis (DLitt)--University of Pretoria, 2012. / English / unrestricted

Les romans *Herland* de Charlotte Perkins Gilman (1915), *The Female Man* de Joanna Russ (1975) et *Chroniques du Pays des Mères* d'Élisabeth Vonarburg (1992) mettent tous les trois en scène une société utopique exclusivement composée de personnages féminins. Considérant que la science-fiction imagine des mondes autres en reprenant souvent des conceptions stéréotypées, voire sexistes, des femmes, diverses écrivaines, dont Gilman, Russ et Vonarburg, ont repensé la société sous forme d'utopie afin d'illustrer leur capacité à voir le monde autrement, c'est-à-dire dans des contextes où elles ne seraient pas reléguées au second plan. Notre mémoire cherche à prendre la mesure de l'évolution de la représentation des femmes dans les utopies féministes et incidemment à souligner ses liens avec les préoccupations féministes contemporaines à leur parution. Ce mémoire propose une analyse des différents discours qui sont tenus dans les romans, dans les écrits non fictionnels des écrivaines ainsi que dans les entretiens qu'elles ont réalisées au cours de leur carrière afin de déterminer si ceux-ci peuvent être associés aux mouvances féministes de chacune des époques concernées. En nous penchant sur les rôles sociaux, la maternité et les pratiques sexuelles au sein de ces récits, nous interrogeons la manière dont ces auteures remettent en question ou perpétuent les stéréotypes de genre dans la science-fiction.

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